Continuing our overview (expanded from comments on the SuperMegaMonkey Godzilla Chronology Project) of Toho’s Showa-era Godzilla films, plus two non-series kaiju eiga.
Monster Zero (1965, aka Godzilla vs. Monster Zero, etc.)
I would call this neither the best nor my favorite of the Showa entries, which are not necessarily synonymous, but it might be considered a quintessential one, with the Honda/Ifukube/Tsuburaya “Dream Team” by now firing on all cylinders. The alien-invasion theme from The Mysterians (1957)—which I am overdue to revisit—and other Toho films is interpolated into the series here, and will figure ever more prominently in ensuing years. While there are some ominous signs (e.g., the reportedly first, albeit minor, use of stock footage in the battle scenes; Godzilla’s kid-friendly victory jig), it will be some time before those traits become truly troublesome, especially with also-ran director Jun Fukuda’s imminent injection of new blood.
Make no mistake, the plot is as loopy and full of holes as they come, yet somehow its failings seem more endearing than annoying in this case, and I sure loves me some Akira Takarada. Conversely, I’ve always loathed Nick Adams (whose off-screen persona apparently justified my dislike), although his appearances here and in Frankenstein Conquers the World must be considered noteworthy, being indigenous to the U.S. co-productions rather than shoehorned in à la Raymond Burr. And he gets no fewer than three immortally cheesy lines: “Double-crossing finks!,” “You rats—you stinkin’ rats!” and, of course, the notorious closer, “Whatever’s fair, pal.”
Among the things this film epitomizes is the fact that Toho did not reserve its greatest creativity for titles. The Giant Monster War, which I believe is the translation of the original Japanese, is pretty damned generic, and the endless permutations of Invasion of [the] Astro[-Monster]s for their “international version” aren’t much of an improvement. The Simitar DVD I watched in lieu of the Starz broadcast (a hand-me-down from our beloved Professor Joe Tura, Marvel University’s kaiju eiga authority) sells it as Godzilla vs. Monster Zero. But I don’t feel that the title of every damned entry has to start with Godzilla versus… and, not too surprisingly, prefer the elegant and misterioso simplicity of the title under which most of us gaijin presumably first encountered it, Monster Zero.
This also displays Toho’s have-your-cake-and-eat-it-too attitude toward continuity, as the aliens acknowledge that [King] Ghid[o]rah was previously driven off by Godzilla and Rodan, while conspicuously overlooking their erstwhile ally, Mothra. How the hell they wound up in Lake Myojin and Washigasawa, respectively, is anybody’s guess, and while I won’t even address the effect of the film’s nominally futuristic “197X” setting (as is explicit in some versions) on overall series chronology, I will make a mental note that “escaping into the future” is a handy euphemism for blowing yourself to kingdom come. But seriously, dude, don’t let these quibbles detract from the enjoyment of the fabulous 1960s production design, the awesome monster battles, the Controller’s wacky sign-language, or the magnificent and oft-sampled score, which in turn stole a march, as it were, from the original Godzilla.
Godzilla vs. the Sea Monster (1966, aka Ebirah, Horror of the Deep)
Amid stiff competition, this is my iconoclastic favorite Godzilla movie, partly for the same reason Mysterious Island is my favorite Harryhausen film (the island settings are one of several similarities), i.e., the story is almost good enough to stand on its own with no giant monsters. Of course, Ray had an edge: a perfectly good novel by Jules Verne—the sequel to 20,000 Leagues under the Sea, for those of you who came in late—into which they simply shoehorned his stop-motion critters. Interesting to note that both Captain Nemo (Herbert Lom) there and the scientists in Fukuda’s island-set follow-up, Son of Godzilla, are trying in their own very different ways to address the problem of world hunger.
This was one of the four Showa entries not to be recently aired on the Starz networks, yet because I have a beautiful letterboxed and subtitled DVD, it seemed silly not to treat myself to a re-viewing and tack it onto my comments. It’s also nice that after being benched in Monster Zero, Mothra and the natives of Infant Island not only return, albeit with new fairies and song, but also are integral to the plot. That continues the tag-team effect among Toho’s Big Three (including Rodan) in the mid-’60s films, even if Godzilla forgets his recent alliance with Mothra—could it be because she’s no longer a larva?
I appreciate that while still clearly a guy in a suit, giant lobster Ebirah is—like the puppeteered big bugs in Son of Godzilla—less aggressively anthropomorphic than many a kaiju (it’s hard to watch him or Harryhausen’s crab without my mouth watering). Naturally, being half-submerged much of the time conceals “suitmation” actor Hiroshi Sekita’s legs, and I love anything nautical; even if I now recognize that the “underwater” scenes were mostly shot dry-for-wet, he and a waterlogged Haruo Nakajima (who played Godzilla from 1954 to ’72) still spent plenty of time in the tank. Since Honda set the precedent for their no-net volleyball match, we can’t really fault Fukuda for that, and somehow even Godzilla’s ultimate taunt, mocking a maimed Ebirah by clacking his own claw at him, didn’t bother me.
The score by frequent Kurosawa collaborator Masaru Sato (whose first name is misspelled “Mararu” in the translated credits, shorn from the original U.S. television release along with some early scenes) is less substantial than the one he composed for Son of Godzilla; significantly, this is the only one of the 15 Showa films not represented in my beloved Best of Godzilla 1954-1975 CD. It is also marred by a jazzy, hideously inappropriate cut when the Chin—uh, Red Bamboo jets attack Godzilla, and by an ill-advised reprise of the otherwise fun dance-contest music during one of his skirmishes with Ebirah, both wisely excised from the Stateside soundtrack. But there are some effective cues, e.g., those accompanying the appearance of Ebirah’s claws from the sea and the discovery of the slumbering Godzilla, whose entrance is preceded by some nice suspense.
Fresh from embodying the multiple Namikawas in Monster Zero, Kumi Mizuno is delightful as Dayo—putting to shame her island-girl successor in Son of Godzilla—with “Mr. Handsome” Takarada cast against type as the bank robber. Offsetting the youngsters, who are not Toho mainstays, is the villainous trio of Akihiko Hirata, Jun Tazaki, and Hideyo (aka Eisei) Amamoto, seen all together in at least one delicious widescreen shot; the format also does wonders for Godzilla’s Lego-fortress stomp. Ironically, Amamoto is best known to some of us as Dr. Who in King Kong Escapes (1967), the Rankin/Bass U.S. co-production that did get made after they rejected this script, Operation Robinson Crusoe, whereupon Toho retooled it as a vehicle for Godzilla.
Son of Godzilla (1967)
I won’t deny that Fukuda’s Godzilla vs. Gigan/Megalon/Mechagodzilla triad marks a low point for the Showa era, but I will champion his two mid-series “island films.” Yes, I know the desolate settings were at least partly a cost-cutting measure, yet I find them an enjoyable change of pace, with all of those wacky military or scientific installations giving the miniature-makers a breather from office buildings and the like. And while second to none in my admiration for Maestro Ifukube, whose work with Honda I rank among the great director/composer teams (e.g., Hitchcock/Herrmann, Leone/Morricone), I really enjoy Sato’s jazzier themes, especially when isolated on my trusty CD.
I guess my Maudlin Man sobriquet was assured from childhood, because while he can admittedly be annoying, little Minya has always tugged at my heartstrings. Even as a kid, I was especially moved by the snowy “father and child reunion” that gives the film its unusual ending (and how, um, cool is it to have the climactic battle staged in a blizzard?); my reaction nowadays can well be imagined by those who know me. In short, I am in no way arguing for the superiority of Fukuda/Sato over Honda/Ifukube—seems this was a second-string effort by the former team while the big guns were occupied with King Kong Escapes—only saying that each can be enjoyed on its own merits.
Because even if you loathe Minya on general principle, as I know many do, there are multiple compensations, not least the formidable ensemble cast of Hirata, Akira Kubo, Tadao Takashima, Yoshio (Controller) Tsuchiya, and Kenji Sahara. Granted, Kenji barely registers here after playing the lead in Rodan, but Toho’s overall use of its stock company reminds me of Takashi Shimura’s work in both kaiju eiga and the films the great Akira Kurosawa was making concurrently, often for the same studio and/or producer. One minute you’re the leader of the immortal Seven Samurai, and the next you’re doing a virtual cameo in Godzilla Raids Again. Dude, that’s range.
I’ve always been a big-bug guy (Them!, Tarantula, etc.), so I found the Kamacuras and Kumonga—or Gimantises and Spiga back in the day—quite welcome as adversaries and, again, a change from the usual anthropomorphic suitmation, with some nice suspense built up before giant spider Kumonga emerges. In one eye-opening moment, Kubo refers to the kaiju-infested setting as “Monster Island,” and you could almost see the lightbulb go on over producer Tomoyuki Tanaka’s head; he also compares Godzilla to “the education fanatics in Japan,” prompting both Min and me to observe that he was the original Tiger Mom! She questioned the utility of the meteorological experiment, but I think the point was how completely they could control the weather in general, rather than that a flash-frozen tropical island was conducive to crop growth.
For the record, it’s confirmed in the version just shown on Starz that Minya—or Minilla if you prefer—was indeed the source of the mysterious “interference” that wreaked havoc with the experiment on the first attempt, however that was determined (because science?). Apparently Nakajima played Godzilla only in a couple of scenes this time out, most notably his watery entrance; they used him in an older suit there, due to the obvious concern over damage. To give Godzilla greater paternal stature, they also built a bigger one that had to be worn by two different actors, because one broke his fingers during shooting.
Destroy All Monsters (1968)
One of my fondest father/daughter memories—and one to which I’m sure Professor Joe can relate—is of taking Alexandra, still knee-high to a Gimantis at the time, to a modest Kaiju Con in Manhattan, where I then worked. As I recall, we didn’t do major damage in the dealer’s room, but the pick of the litter for me, back in the days before the ubiquity of DVDs, was a letterboxed and subtitled VHS copy of this film ostensibly straight from the horse’s mouth, i.e., Toho Video itself. Needless to say, I didn’t futz around with any Starz broadcast of that baby (although, upon re-examining it, I am now chagrined to suspect it’s a bootleg), and I saved it for my final viewing because…well, just because it’s Destroy All Monsters, which I’m sure occupies a special place in any true G-fan’s heart.
Yet it’s a bittersweet experience, and not just because it marks the end of my nostalgic trip down Showa Lane; I’m clearly not the only one who, while fond of it, was ultimately somewhat disappointed with this film. Apparently, Godzilla’s ticket sales had been declining, so after two cut-price Fukuda entries—which didn’t even score Stateside theatrical release—Toho bumped the budget back up, reconvening the Honda/Tsuburaya/Ifukube Dream Team one last time (Eiji outliving its release by less than two years) and pulling out all the stops for what was originally envisioned as the Big G’s swan song. Yet as great as “Gid[o]rah vs. Everybody” may sound on paper, the overall kaiju action is actually relatively modest, with the pace seriously flagging during such scenes as the sojourn on the moon, and even the climactic battle is a little less than the sum of its parts.
Obviously, we’d have trouble following the action if they crammed Ghidrah and all 10 of his opponents onto the screen at the same time, so there’s something to be said for the apparent approach as the sub-teams converge on him from opposite directions. In the event, though, the heavy lifting is done by only three monsters, two of whom had only one prior appearance apiece (Angilas in Godzilla Raids Again and Gorosaurus in King Kong Escapes), rather than relying on the “Big Three” who had defeated him before, as one might expect. In fact, I find most striking not how many kaiju are assembled for this extravaganza, but how disproportionate their screen time is; okay, Varan—whom they don’t even deign to identify—is justifiably obscure, but since he’s only glimpsed twice, having deteriorated during a decade in storage, you wonder why they bothered.
The story behind Baragon’s paucity of screen time is more complicated, not to mention interesting. The apparent gaffe of the newscaster announcing that it was he, rather than Gorosaurus, who had emerged from underground in Paris to wreck the Arc de Triomphe (Sapristi!) actually reflects what was scripted, and in fact his burrowing abilities were well established when he was introduced in Frankenstein Conquers the World. But the Baragon suit was also in a state of disrepair, having been lent to Tsuburaya Productions for cannibalization in various episodes of their TV series Ultraman and Ultra Q, hence the last-minute substitution of the conspicuously non-burrowing Gorosaurus.
I don’t wish to dwell on the negatives, however, and despite the uneven participation, that battle is admittedly a humdinger, with Angilas in particular earning his stripes, latching onto Ghidrah’s neck like a pit pull while lifted to, and then dropped from, a great height. Maestro Ifukube’s score is among his best, not only the stirring title march but also the brief pre-credit flourish as the monolithic title rises onscreen—still inducing a mild frisson in this viewer—and the frenetic “busy bee” music as the astronauts cut through the Kilaaks’ gizmo with the laser. Repertory players Akira Kubo, Jun (Atragon) Tazaki, and Yoshio (Human Vapor) Tsuchiya are of course always welcome, and the subtitled version eliminates at least some of the lunacy with the dialogue that fnord12 and Min lamented, leaving this a flawed yet still beloved last hurrah for Showa at its finest.
Godzilla’s Revenge (1969, aka All Monsters Attack)
Presumably like many others, I disdained this in my youth, yet have learned to cut it some slack over the years, because it was clearly never intended to be just another kaiju-smackdown series entry, but a children’s fantasy comparable in its own weird way to the great Robert Wise’s Curse of the Cat People. Even back in the day, I felt sympathy for lonely latchkey kid Ichiro, whose well-meaning parents were obviously struggling to make ends meet.
On that note, awareness of Tsuburaya’s ill health and other obligations, combined with Toho’s cost-cutting policy (can it really be true that fan-fave Destroy All Monsters underperformed at the box office?), has also helped to mitigate its threadbare, stock-footage-laden look. If nothing else, it’s certainly different—and how do you top DAM, anyway?—with its industrial-wasteland setting a marked change from Honda’s customary cosmopolitan cityscapes or Fukuda’s South Seas islands.
Speaking of changes of pace, I was quite surprised when I realized that Ichiro’s kindly inventor-neighbor was played by the previously dastardly Amamoto of Godzilla vs. the Sea Monster and, most especially, King Kong Escapes (as that other Dr. Who). Aside from the misleading title change, the film seems to have undergone far less tampering than some on its initial U.S. release, and replacing the in-your-face—or perhaps I should say “in-your-ear”—vocal version of the hectoring “Monster March” theme song with an instrumental was probably an improvement. Shades of Godzilla vs. the Smog Monster’s “Save the Earth!”
Reminder: Godzilla expert Steve Ryfle will discuss and autograph his new book Ishiro Honda: A Life in Film, from Godzilla to Kurosawa at New York’s Japan Society at 6:30 P.M. on Wednesday, February 21. The event is moderated by Bruce Goldstein, Director of Repertory Programming at the incomparable Film Forum, and the reception to follow will feature a display of rare Godzillabilia. The society is also showing the original Japanese version of Godzilla on Friday, February 2, at 7:00 P.M.
To be concluded.
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